The learning matrix is a grid designed to differentiate tasks for all learners and build independence in the classroom. I have used the learning matrix in a number of contexts from year 7 - 12, and I have found that student engagement is increased substantially as they are given choice about their learning path. 

The matrix can be manipulated to meet the individual needs of your class or the topic you are studying. The matrix below was created for a VET Entertainment class. It is built on the principles of Multiple Intelligence and Bloom's Taxonomy. For this matrix I have used colour coding to guide students use of the grid. If students completed the yellow shaded tasks correctly and the purple task (which is the final assessment) they would be competent and demonstrate the outcomes for the course. However, they could complete these task in which ever order they wished and also extend into other areas of interest to enhance their basic knowledge further. Each task was also allocated wattage. This measured the difficulty of the task. Completing Kinesthetic Task 9 for example would obtaining them 20 units of wattage. This also operated like a point system. The students called this 'Powering Up' and they would set themselves weekly wattage goals to achieve. It also allowed me to monitor their progress throughout the unit. Work was saved to Google Drive for marking. It was instant and continuous allowing me to progressively mark and provide them with ongoing feedback on their progress. They also had the option to choose whether they wanted to work as an individual (I), a pair (P) or a group (Group of 3 = G3). This was the core of the audio / vision unit and I operated as a facilitator in class to assist the students in their completion of tasks. Throughout the unit I would run mini workshops on the apps, equipment, and concepts built into the matrix and the students that needed this specific knowledge would attend these workshops. If they already knew how to roll a lead correctly, they wouldn't attend that specific workshop. This allowed for students to maximise their learning time and increase their overall skill base.

This next matrix was used as a supplement to an introduction unit on Drama Essentials. It simply focused on Multiple Intelligences, as it was the first matrix the students had used. In this unit students covered the topics What is Drama?, Working with Others, The Elements of Drama, Voice, Movement and Improvisation. The tasks were colour coded for each specific topic (Eg. Yellow = Movement). Students had to complete a specific number of tasks in each colour, but could chose which tasks of that colour they completed. These were submitted for marking as part of their logbooks. Students presented practical tasks and activities at Curtain Call each week. Curtain Call occurred at a set time each week and gave students the opportunity to showcase their work to date. This worked effectively as I was able to formatively assess them as they progressed through the matrix. Students enjoyed the flexibility of the matrix and were able to explore their individual areas of interest while extending and reflecting on their learning in class.

Gifted and talented students can extend themselves into further tasks and concepts. On a side note, I do find it better to sit with my learning support kids and map out the tasks with them prior to them beginning. Students with Asperger's Syndrome for example like to know what is coming but can get overwhelemed with the choice. So together we look at their strengths and decide what tasks they are going to tackle in what order. 

Why not experiment with a learning matrix for your next unit of work? It is a flexible tool that could be used in any context. It lends itself to student-centred, differentiated learning that is engaging and assists in developing time management, independent learning and specialised skill development.

Today I had the absolute pleasure of teaching a joyful group of young people how to breath life into the word of God. Students at the BBYM Conference learnt how to use the liturgical drama toolbox to create engaging and moving performances. Below are my notes from the conference. I hope they are useful to those of you working in Catholic schools, particularly primary school teachers, RE teachers and drama teachers... or any one else that can find them of use! 

A huge thank you to Ms Susie Edmonds for teaching me most of what I know about this topic. 

The Group Project is a major element of the HSC Drama syllabus and probably the area that causes the most angst for both teachers and students. So how can we as drama teachers relieve some of the pressure or angst related to Group Projects? 

• Teach students to work COLLABORATIVELY from the moment they enter the drama classroom on the first day of Year 9. This is not a skill that can be learnt over night. It takes practice and constant commitment.
• Create a 'Yes and...' culture in your classroom. Teach students to yield to each other and extend on each other's ideas rather then blocking or resisting others suggestions. This is the basic principal of improvisation. Check Dave Morris's TED talk on impro here to see how these basic skills can impact on our day to day interactions. 

• Provide them with ongoing critical feedback on their collaboration skills in the junior years. This will assist them in developing sophisticated collaboration techniques which they can then apply to their group work. I love this Collaboration Rubric devised by the Buck Institute for Education. It can easily be adapted to playbuilding or other group tasks in the Drama classroom. 
• Abolish competitiveness in your classroom. Sounds easy right? It actually is not that difficult, but it needs to be an ongoing goal. Use The Up Jar; consistently embolden your students to share work with each other, provide verbal feedback and affirm each other; ask students to write individual goals and encourage them to achieve their personal best; reward improvement not just top marks; set class goals which students can only achieve together. It can happen!
• Select groups for your students. This can be done in a number of ways and I vary it for each class. However, I explicitly say to the class that my goal is to help every student achieve the best result and I ask them to trust that I have enough knowledge and experience to inform this choice. 
• Provide them with as much stimulus as you possibly can. I have sentence starters, writing prompts, creative challenges, art works, poetry, music, photographs, pictures and practical exercises to throw at them when they are stuck. This is one way I can actively assist as a facilitator for the project.
• Establish a Group Contract guided by the students input. The scaffold I present my groups is provided in the document below. 
• Take time at the start of the project to acknowledge each group members strengths and publicly affirm them. I then ask the students in each group to use these strengths as a guide to establishing their piece.
• Provide them with a tool kit of skills, styles, conventions and techniques. In the Preliminary Course I try to touch on as many styles of theatre as I can; expose them to as many practitioners as I can; and explicitly teach them as many performance skills and techniques as I can.  Every time we touch on something new we add it to our tool kit. Prior to starting the GP we make a list as a class of all the tools we have to draw on. We then refer to this list for inspiration as we build our piece.
• Have fun! If they are not having fun they will not be motivated to keep going. As a facilitator I try to keep GP lessons and workshops fun and invigorating. If the group needs a dance break.... do it!

This is the introduction booklet I  provide for my students at the beginning of the project. The students need to know from day one the expectations and purpose of the GP. Most of it is straight from the syllabus and course prescriptors, but it may be of use to you and save you some leg work. I would also love to hear your tips and tricks for the GP, so please feel free to comment below.